SHORT VERSION Apostle Portrait "Simon Petrus" Oil on Canvas, probably 18th Century, mounted on stretcher frame A half-length portrait of the Apostle Peter (identified by the ochre mantle over the blue undergarment), originating from a possible set of four apostle paintings. The work is executed in oil on canvas, showing characteristics of late Baroque to early Neoclassicism. The painting is mounted on a later, professionally executed stretcher frame. It is in good, authentic condition with age-related craquelure and patina. The composition conveys dignity and spiritual depth. Dimensions: approx. 50 × 40 cm (19.7 x 15.7 inches). you bid on more than one auction of the four apostles, you only pay shipment one time. LONG VERSION Title Apostle Portrait "Simon Petrus" Oil on Canvas, probably 18th Century, mounted on stretcher frame If you bid on more than one auction of the 4 apostles, you only pay shipment one time! So if you buy 1, 2, 3 or 4 of the paintings you only pay the shipment cost One Time. The painting was originally part of a set of four paintings representing four apostles. You have now the possibility to bid on every four of it. You find the other three offers in the other auctions of my profile and also in the very last picture of the picture collection of the item. From the classical clothing, one may assume that this is the Apostle Peter. Several documented examples can be found in archives showing Peter depicted in an ochre-colored mantle with a blue undergarment. There are also depictions of Saint Joseph with this color combination of garments, but considering that the painting was originally part of four images, it is reasonable to conclude that it represents an apostle rather than Saint Joseph. Dimensions: approx. 50 × 40 cm (measured using the iPhone Measure app, therefore deviations are possible). Object Oil painting on canvas, presumably produced in the 18th century. The work is mounted on a later, yet professionally executed stretcher frame. The canvas shows age-related craquelure as well as a naturally developed patina typical of historical religious painting of this period. Depiction Shown is a half-length portrait of a male apostle, turned slightly to the right, in a contemplative, almost introspective posture. The saint is dressed in a voluminous golden-ochre mantle that is loosely draped over a blue, high-necked undergarment. The folds of the garment are broadly modelled, providing the figure with sculptural depth. The apostle is depicted with a full beard, high forehead, and slightly ruddy complexion. The eyes—large, almond-shaped, and rendered with a moist gleam—give the image an intense spiritual presence. His gaze is not directed frontally at the viewer but is slightly lowered and oriented to the side, which enhances the impression of inner reflection and humility. His right hand grasps the mantle, a typical iconographic gesture that may refer to inner contemplation, revelation, or the holding of sacred texts. Although no specific attribute is shown definitively, the figure stylistically corresponds to traditional portrayals of New Testament apostles in Baroque to early Neoclassical sacred art. The background is rendered softly, with a gentle gradient of gray and ochre tones. It deliberately refrains from narrative elements and directs attention consistently toward the figure. The overall impression is one of calm, dignity, and spiritual depth, typical of devotional apostle cycles of the 17th and 18th centuries. Technique and Style The painting is executed in oil on canvas. Its painting technique combines characteristics of the late Baroque with early Neoclassical tendencies: • Face and hands: modelled with finely tuned glazes and soft transitions. Subtle light reflections emphasize the physiognomic details and lend psychological intensity to the depiction. • Garments: the broad folds are constructed with clear light-dark contrasts, demonstrating the typical fabric treatment of Baroque drapery painting. • Coloration: dominant ochre and yellow tones in the mantle create a warm accent, while the cool blue tones of the undergarment produce a harmonious color balance. • Lighting: soft, top-left illumination models the forehead, nose, and cheeks, while also emphasizing the plasticity of the folds. • Background: neutral and softly blended without sharp contours—a characteristic that brings the portrait to the fore and underscores its spiritual significance. The execution suggests a skilled workshop painter or ecclesiastical artist familiar with traditional visual models of religious portraiture. Dating and Context The work is unsigned but, based on its stylistic and technical features, points to an 18th-century origin. Such apostle portraits were often created as part of larger apostle cycles for chapels, monasteries, or private devotional spaces. The present depiction aligns clearly with this tradition: • Half-length figure in three-quarter profile • Draped mantle in ochre tones • Emphasis on expression, spirituality, and inner disposition The calm, timeless gesture indicates a painting of devotional character, constructed not as an individualized portrait but rather as a typological-theological figure. Stylistic Classification The painting stands in the tradition of Central and Southern European church art from the late Baroque to early Neoclassicism. In particular, the rendering of the face, the clear lighting, and the robust treatment of the drapery suggest a painter active within a professional religious workshop. The composition follows classical patterns: • Half-length figure without additional objects • Neutral, atmospheric background • Emphasis on gesture of hand and gaze • Clear silhouette through the mantle The visual language conveys dignity, humility, and spiritual focus, consistent with apostle depictions since the 17th century. Framing Currently mounted on a stretcher frame. An original historical frame does not appear to be preserved or included with the object. The canvas tension appears stable and functional. Later framing is easily possible. Condition • Canvas: stable, without visible tears or major losses. • Paint layer: even, naturally developed craquelure typical of Old Master paintings of the 18th century. • Surface: age-related matte appearance and fine irregularities. • Patina: authentic, with no disturbing overpainting visible (based on photographic assessment). • Structure: slight abrasion marks at the edges, appropriate for the age. Overall, the work is in a condition that is good and authentic for its age. Art Historical Significance and Interpretation This painting is a representative example of 18th-century sacred portraiture as found in churches, monastic institutions, and private chapels. Apostle cycles were central components of Catholic devotional art programs, often produced in sets of twelve or more panels. The present work embodies: • the theological symbolism of the apostles • the ideal of Baroque spirituality • the connection between human closeness and sacred elevation • the period’s characteristic aesthetic balance between realism and sacred expression Thus, the painting possesses not only artistic craftsmanship but also cultural-historical significance, especially within the context of 18th-century devotional religious art. Conclusion A technically well-executed and spiritually expressive 18th-century apostle portrait. The work is distinguished by characterful physiognomy, classic Baroque lighting, and a warm, harmonious color palette. Title: Apostle Portrait Artist: unknown, workshop painter of the 18th century Technique: oil on canvas Date: probably 18th century Mounting: later stretcher frame Condition: good, with authentic aged patina Significance: part of a possible apostle cycle, typical of sacred art from the late Baroque to early Neoclassicism.